Moonlighting Crowes play The Paradise

Sunday

Jun 8, 2014 at 6:30 AMJul 2, 2014 at 11:12 AM

Rich Robinson knows music, well enough to know he doesn't want to follow Jackie Greene. The two members of the Black Crowes, founding brother and guitarist Robinson, and recent addition on guitar, keyboards and vocals Greene, brought their tour to the Paradise Rock Club in Boston on Friday night, for a torrid night of rock 'n' roll before about 600 fans.

Many of us may have thought the two would be performing together in some hybrid band, but Greene and Robinson and their respective bands played separate sets. With Greene's anchoring set approaching 80 minutes, while Robinson's was nearly as long, it was a lot of music and a long night for those hardy enough to be on hand for the opening act, Project Omega.

We didn't make that one, but arrived early in Robinson's set, and he and his quintet were in fine form. Right off the bat, it was obvious Robinson's vocals have improved markedly since his solo debut, and he's seemingly much more confident now about his singing ability. Of course as a riff-master, he has few peers, and dazzling guitar sounds were the order of the day. But Rich Robinson's own compositions also carry a sweet sense of melody, so that just as you're recognizing the Jimmy Page or Rolling Stones influences in his guitar, he unveils the kind of melodic grace that convinces you The Beatles might be one of his most direct links.

In short, if you go into a Rich Robinson show expecting to hear Black Crowes greatest hits, or perhaps Crowes-lite, think again. His music covers a much wider palette, doesn't have the thunderous aspect of that band, and features much more meaty vehicles for guitar aficionados.

Robinson's current band is built to explore his new music, and quite a few moments Friday night reminded us of the kind of wide-ranging jams you'd find at an Allman Brothers show. Other spots seemed to evoke a Grateful Dead kind of rootsy rambling. While there were some heady and mind-bending guitar lines, there really wasn't much of the usual Black Crowes crunch, and it'd be accurate to say Robinson's band doesn't deliver rock quite as heavy as the band he fronts with brother Chris Robinson. Fans know Chris Robinson's solo offerings tend to go in the direction of the Crowes' hippie-jamband aspects, but while there's plenty of jamming potential with Rich's music, it is more Southern-rock mainstream. That impression might just be because Rich Robinson's songwriting is just so effortlessly melodic.

Those melodic aspects were a real factor in making the ballad "The Giving Key" a soulful delight, drenched in waves of guitar lines. Early in their set the Robinson band did a lengthy instrumental, and it was certainly the kind of swinging shuffle-blues, as Rich played gorgeous slide guitar, that reminded listeners of classic Allman Brothers. On that note, keyboardist Matt Slocum is a terrific foil for Robinson, providing contrast and a soloist able to go toe-to-toe with the leader.

Robinson played a hollow-bodied electric for the midtempo rocker "In Comes the Night," with a world-weary vocal hinting at some sort of redemption. Several of the later songs in the Robinson set had a distinct '60s feel, reveling in a rough, garage rock feel. One tune in particular stood out, for its deceptively simple drum pattern framing psychedelic guitar accents, almost as if 'Pet Sounds' met '60's blues-rock, and it seemed to be "Trial and Faith" from Robinson's new album "The Ceaseless Sight."

Robinson, 45, is very spare with song intros, and he does still have a tendency to slur his vocals, but the set-ending "Inside" was another special treat, subtly funky thanks to Slocum, and with all manner of special effects guitar highlighting the spacey theme.

Greene, 33, and his quartet hit the ground running and never let up, in one of the invigorating rock sets of this or any other year. Starting with a big steel Resonator guitar, Greene opened with the easy-thumping blues, "Don't Let the Devil Take Your Mind," but that classic blues theme was updated by his witty lyrics and all-out delivery. Switching to acoustic guitar, Greene next uncorked a blazing hootenanny kind of raveup in "About Cell Block #9." The cool ballad "Shaky Ground" proved Greene can be just as effective with nuance and slowly building tenson.

Greene's dozen song set had everyone moving by the time he did a barnburning cover of the Grateful Dead's "Bertha." That seemed like a moment impossible to top, but Greene did so on the next song, the cathartic rocker, where he played electric guitar and harmonica, "The Ballad of Sleepy John." There was more buoyant rock power with "(I'm Falling In Love With A) Mexican Girl," which rode a syncopated, South of the Border rhythm.

Greene switched to electric piano for the brooding ballad "Shaken," and stayed at the keyboard for the Beatlesque ballad "Grindstone" with its anthemic chorus "I want something new.." Greene's extended intro, on the B-3 organ, to "Tell me Mama" was one of the night's highpoints, a jazzy r&b solo of jaw-dropping intensity. Then, he more than matched it with his soulful vocal on the dynamic blues tune.

Greene was back on guitar, uncorking a brain-curdling six-string solo on the chugging rocker "I Was Born An Animal," and then led the band through the rockin' romp "Farewell, So Long, Goodbye" to end his regular set. Despite the fact that show was running late, the club full of giddy rock fans brought Greene back for an encore, the joyous "Like a Ball and Chain."

Lots of fans probably had mixed feelings about Greene being added to the Black Crowes--happy for his success, but regretful if it meant his own blazing rock career would be put on hold. Friday night was a terrific reminder that Greene himself is one of contemporary music's most compelling performers. And it was also proof that Rich Robinson is an intriguing artist himself, and need not be confined to being known simply as a Black Crowe.

Rich Robinson knows music, well enough to know he doesn't want to follow Jackie Greene. The two members of the Black Crowes, founding brother and guitarist Robinson, and recent addition on guitar, keyboards and vocals Greene, brought their tour to the Paradise Rock Club in Boston on Friday night, for a torrid night of rock 'n' roll before about 600 fans.
Many of us may have thought the two would be performing together in some hybrid band, but Greene and Robinson and their respective bands played separate sets. With Greene's anchoring set approaching 80 minutes, while Robinson's was nearly as long, it was a lot of music and a long night for those hardy enough to be on hand for the opening act, Project Omega.
We didn't make that one, but arrived early in Robinson's set, and he and his quintet were in fine form. Right off the bat, it was obvious Robinson's vocals have improved markedly since his solo debut, and he's seemingly much more confident now about his singing ability. Of course as a riff-master, he has few peers, and dazzling guitar sounds were the order of the day. But Rich Robinson's own compositions also carry a sweet sense of melody, so that just as you're recognizing the Jimmy Page or Rolling Stones influences in his guitar, he unveils the kind of melodic grace that convinces you The Beatles might be one of his most direct links.
In short, if you go into a Rich Robinson show expecting to hear Black Crowes greatest hits, or perhaps Crowes-lite, think again. His music covers a much wider palette, doesn't have the thunderous aspect of that band, and features much more meaty vehicles for guitar aficionados.
Robinson's current band is built to explore his new music, and quite a few moments Friday night reminded us of the kind of wide-ranging jams you'd find at an Allman Brothers show. Other spots seemed to evoke a Grateful Dead kind of rootsy rambling. While there were some heady and mind-bending guitar lines, there really wasn't much of the usual Black Crowes crunch, and it'd be accurate to say Robinson's band doesn't deliver rock quite as heavy as the band he fronts with brother Chris Robinson. Fans know Chris Robinson's solo offerings tend to go in the direction of the Crowes' hippie-jamband aspects, but while there's plenty of jamming potential with Rich's music, it is more Southern-rock mainstream. That impression might just be because Rich Robinson's songwriting is just so effortlessly melodic.
Those melodic aspects were a real factor in making the ballad "The Giving Key" a soulful delight, drenched in waves of guitar lines. Early in their set the Robinson band did a lengthy instrumental, and it was certainly the kind of swinging shuffle-blues, as Rich played gorgeous slide guitar, that reminded listeners of classic Allman Brothers. On that note, keyboardist Matt Slocum is a terrific foil for Robinson, providing contrast and a soloist able to go toe-to-toe with the leader.
Robinson played a hollow-bodied electric for the midtempo rocker "In Comes the Night," with a world-weary vocal hinting at some sort of redemption. Several of the later songs in the Robinson set had a distinct '60s feel, reveling in a rough, garage rock feel. One tune in particular stood out, for its deceptively simple drum pattern framing psychedelic guitar accents, almost as if 'Pet Sounds' met '60's blues-rock, and it seemed to be "Trial and Faith" from Robinson's new album "The Ceaseless Sight."
Robinson, 45, is very spare with song intros, and he does still have a tendency to slur his vocals, but the set-ending "Inside" was another special treat, subtly funky thanks to Slocum, and with all manner of special effects guitar highlighting the spacey theme.
Greene, 33, and his quartet hit the ground running and never let up, in one of the invigorating rock sets of this or any other year. Starting with a big steel Resonator guitar, Greene opened with the easy-thumping blues, "Don't Let the Devil Take Your Mind," but that classic blues theme was updated by his witty lyrics and all-out delivery. Switching to acoustic guitar, Greene next uncorked a blazing hootenanny kind of raveup in "About Cell Block #9." The cool ballad "Shaky Ground" proved Greene can be just as effective with nuance and slowly building tenson.
Greene's dozen song set had everyone moving by the time he did a barnburning cover of the Grateful Dead's "Bertha." That seemed like a moment impossible to top, but Greene did so on the next song, the cathartic rocker, where he played electric guitar and harmonica, "The Ballad of Sleepy John." There was more buoyant rock power with "(I'm Falling In Love With A) Mexican Girl," which rode a syncopated, South of the Border rhythm.
Greene switched to electric piano for the brooding ballad "Shaken," and stayed at the keyboard for the Beatlesque ballad "Grindstone" with its anthemic chorus "I want something new.." Greene's extended intro, on the B-3 organ, to "Tell me Mama" was one of the night's highpoints, a jazzy r&b solo of jaw-dropping intensity. Then, he more than matched it with his soulful vocal on the dynamic blues tune.
Greene was back on guitar, uncorking a brain-curdling six-string solo on the chugging rocker "I Was Born An Animal," and then led the band through the rockin' romp "Farewell, So Long, Goodbye" to end his regular set. Despite the fact that show was running late, the club full of giddy rock fans brought Greene back for an encore, the joyous "Like a Ball and Chain."
Lots of fans probably had mixed feelings about Greene being added to the Black Crowes--happy for his success, but regretful if it meant his own blazing rock career would be put on hold. Friday night was a terrific reminder that Greene himself is one of contemporary music's most compelling performers. And it was also proof that Rich Robinson is an intriguing artist himself, and need not be confined to being known simply as a Black Crowe.